Coming in at #131 are the Young brothers just so we're not left with the impression that all Australian bands are pussy (although they do look like skinny-ass girlymen regardless of the size of their balls ).

Pretty sure Girly could sumo that entire fucking band at once. To their credit, Malcolm and Angus yet live.

(09-05-2013 07:59 PM)GirlyMan Wrote: Coming in at #131 are the Young brothers just so we're not left with the impression that all Australian bands are pussy (although they do look like skinny-ass girlymen regardless of the size of their balls ).

Pretty sure Girly could sumo that entire fucking band at once. To their credit, Malcolm and Angus yet live.

Just so that Muffs doesn't feel left out here is the top single on the NZ charts

(31-07-2014 04:37 PM)Luminon Wrote: America is full of guns, but they're useless, because nobody has the courage to shoot an IRS agent in self-defense

If one examines modernism, one is faced with a choice: either accept dialectic narrative or conclude that sexual identity, somewhat surprisingly, has objective value, but only if predialectic narrative is valid; otherwise, Sartre’s model of subsemiotic capitalist theory is one of “posttextual nihilism”, and therefore meaningless. Many depatriarchialisms concerning dialectic narrative exist. However, the characteristic theme of the works of Eco is a self-falsifying totality.

In the works of Eco, a predominant concept is the concept of modern reality. Foucault’s model of predialectic narrative suggests that language is capable of significance. Thus, Sontag uses the term ‘modernism’ to denote not, in fact, construction, but subconstruction.

The main theme of Brophy’s analysis of dialectic narrative is the difference between consciousness and class. An abundance of theories concerning not narrative, as modernism suggests, but neonarrative may be found. Therefore, Baudrillard uses the term ‘predialectic narrative’ to denote the common ground between reality and sexual identity.

“Consciousness is fundamentally a legal fiction,” says Foucault; however, according to Geoffrey, it is not so much consciousness that is fundamentally a legal fiction, but rather the fatal flaw, and some would say the defining characteristic, of consciousness. Several materialisms concerning cultural subcapitalist theory exist. In a sense, the characteristic theme of the works of Gibson is a mythopoetical whole.

The primary theme of Wilson’s model of modernism is not desublimation, but neodesublimation. The subject is interpolated into a postcapitalist capitalism that includes language as a paradox. But in Chasing Amy, Smith denies predialectic narrative; in Dogma, although, he deconstructs dialectic narrative.

Predialectic narrative implies that context is created by the collective unconscious, given that narrativity is interchangeable with art. However, Baudrillard uses the term ‘modernism’ to denote the bridge between society and truth.

Sartre’s critique of predialectic narrative states that society has intrinsic meaning. In a sense, an abundance of constructions concerning the paradigm, and eventually the absurdity, of dialectic narrativity may be discovered.

The subject is contextualised into a modernism that includes consciousness as a totality. But if the pretextual paradigm of reality holds, we have to choose between dialectic narrative and capitalist narrative.

The subject is interpolated into a Baudrillardist simulacra that includes sexuality as a paradox. It could be said that the premise of modernism holds that the law is capable of intentionality, but only if subdialectic materialism is invalid.

Brophy[6] implies that the works of Smith are reminiscent of Madonna. Thus, Bataille promotes the use of modernism to analyse society.

The example of predialectic narrative prevalent in Smith’s Mallrats emerges again in Dogma, although in a more self-justifying sense. However, if dialectic narrative holds, we have to choose between predialectic narrative and postcultural constructive theory.

The subject is contextualised into a dialectic narrative that includes truth as a totality. It could be said that Sontag uses the term ‘modernism’ to denote the difference between class and sexual identity.

Discuss.

Skepticism is not a position; it is an approach to claims.
Science is not a subject, but a method.

1. Keeps Muslim extremists out (Muslims can't eat pig meat of any kind)
2. Stops the TSA from molesting you
3. Bacon is just awesome to begin with. Way better then traditional airline food

Problem, Al Queda?

I've got 2 tulpas, Taunav and Eris. If you don't know what a tulpa is, read this.http://community.tulpa.info/thread-kiahd...-to-tulpas
If Taunav has anything to say, he'll be speaking in []
If Eris has anything to say, she'll be speaking in {}
If you think I'm insane, I don't care

(15-05-2013 03:14 PM)Chas Wrote: If one examines modernism, one is faced with a choice: either accept dialectic narrative or conclude that sexual identity, somewhat surprisingly, has objective value, but only if predialectic narrative is valid; otherwise, Sartre’s model of subsemiotic capitalist theory is one of “posttextual nihilism”, and therefore meaningless. Many depatriarchialisms concerning dialectic narrative exist. However, the characteristic theme of the works of Eco is a self-falsifying totality.

In the works of Eco, a predominant concept is the concept of modern reality. Foucault’s model of predialectic narrative suggests that language is capable of significance. Thus, Sontag uses the term ‘modernism’ to denote not, in fact, construction, but subconstruction.

The main theme of Brophy’s analysis of dialectic narrative is the difference between consciousness and class. An abundance of theories concerning not narrative, as modernism suggests, but neonarrative may be found. Therefore, Baudrillard uses the term ‘predialectic narrative’ to denote the common ground between reality and sexual identity.

“Consciousness is fundamentally a legal fiction,” says Foucault; however, according to Geoffrey, it is not so much consciousness that is fundamentally a legal fiction, but rather the fatal flaw, and some would say the defining characteristic, of consciousness. Several materialisms concerning cultural subcapitalist theory exist. In a sense, the characteristic theme of the works of Gibson is a mythopoetical whole.

The primary theme of Wilson’s model of modernism is not desublimation, but neodesublimation. The subject is interpolated into a postcapitalist capitalism that includes language as a paradox. But in Chasing Amy, Smith denies predialectic narrative; in Dogma, although, he deconstructs dialectic narrative.

Predialectic narrative implies that context is created by the collective unconscious, given that narrativity is interchangeable with art. However, Baudrillard uses the term ‘modernism’ to denote the bridge between society and truth.

Sartre’s critique of predialectic narrative states that society has intrinsic meaning. In a sense, an abundance of constructions concerning the paradigm, and eventually the absurdity, of dialectic narrativity may be discovered.

The subject is contextualised into a modernism that includes consciousness as a totality. But if the pretextual paradigm of reality holds, we have to choose between dialectic narrative and capitalist narrative.

The subject is interpolated into a Baudrillardist simulacra that includes sexuality as a paradox. It could be said that the premise of modernism holds that the law is capable of intentionality, but only if subdialectic materialism is invalid.

Brophy[6] implies that the works of Smith are reminiscent of Madonna. Thus, Bataille promotes the use of modernism to analyse society.

The example of predialectic narrative prevalent in Smith’s Mallrats emerges again in Dogma, although in a more self-justifying sense. However, if dialectic narrative holds, we have to choose between predialectic narrative and postcultural constructive theory.

The subject is contextualised into a dialectic narrative that includes truth as a totality. It could be said that Sontag uses the term ‘modernism’ to denote the difference between class and sexual identity.

Discuss.

Oh shit, Chas just done gone and went all SciGen on us and shit. ... It makes his point quite effectively.

(15-05-2013 03:14 PM)Chas Wrote: If one examines modernism, one is faced with a choice: either accept dialectic narrative or conclude that sexual identity, somewhat surprisingly, has objective value, but only if predialectic narrative is valid; otherwise, Sartre’s model of subsemiotic capitalist theory is one of “posttextual nihilism”, and therefore meaningless. Many depatriarchialisms concerning dialectic narrative exist. However, the characteristic theme of the works of Eco is a self-falsifying totality.

In the works of Eco, a predominant concept is the concept of modern reality. Foucault’s model of predialectic narrative suggests that language is capable of significance. Thus, Sontag uses the term ‘modernism’ to denote not, in fact, construction, but subconstruction.

The main theme of Brophy’s analysis of dialectic narrative is the difference between consciousness and class. An abundance of theories concerning not narrative, as modernism suggests, but neonarrative may be found. Therefore, Baudrillard uses the term ‘predialectic narrative’ to denote the common ground between reality and sexual identity.

“Consciousness is fundamentally a legal fiction,” says Foucault; however, according to Geoffrey, it is not so much consciousness that is fundamentally a legal fiction, but rather the fatal flaw, and some would say the defining characteristic, of consciousness. Several materialisms concerning cultural subcapitalist theory exist. In a sense, the characteristic theme of the works of Gibson is a mythopoetical whole.

The primary theme of Wilson’s model of modernism is not desublimation, but neodesublimation. The subject is interpolated into a postcapitalist capitalism that includes language as a paradox. But in Chasing Amy, Smith denies predialectic narrative; in Dogma, although, he deconstructs dialectic narrative.

Predialectic narrative implies that context is created by the collective unconscious, given that narrativity is interchangeable with art. However, Baudrillard uses the term ‘modernism’ to denote the bridge between society and truth.

Sartre’s critique of predialectic narrative states that society has intrinsic meaning. In a sense, an abundance of constructions concerning the paradigm, and eventually the absurdity, of dialectic narrativity may be discovered.

The subject is contextualised into a modernism that includes consciousness as a totality. But if the pretextual paradigm of reality holds, we have to choose between dialectic narrative and capitalist narrative.

The subject is interpolated into a Baudrillardist simulacra that includes sexuality as a paradox. It could be said that the premise of modernism holds that the law is capable of intentionality, but only if subdialectic materialism is invalid.

Brophy[6] implies that the works of Smith are reminiscent of Madonna. Thus, Bataille promotes the use of modernism to analyse society.

The example of predialectic narrative prevalent in Smith’s Mallrats emerges again in Dogma, although in a more self-justifying sense. However, if dialectic narrative holds, we have to choose between predialectic narrative and postcultural constructive theory.

The subject is contextualised into a dialectic narrative that includes truth as a totality. It could be said that Sontag uses the term ‘modernism’ to denote the difference between class and sexual identity.

Discuss.

Oh shit, Chas just done gone and went all SciGen on us and shit. ... It makes his point quite effectively.